Life Day (fortunes of war) Practice Von Stroheim 11.1.13 In a keynote speech delivered at the London Film Festival in 2010 Ken Loach states only 3.3% of the films shown on British television are from European and World Cinema meaning the rest of Europe and the whole of the World. Loach compares this to a library having one aisle with 63 to 80% North American fiction, on another aisle 15 to 30% half North American and half British fiction and the last row with a pitiful 2 to 3% representing the whole World. ‘So we know where the power’s at.’ Does the possibility of documenting war with impartiality any longer exist post Iraq 2003? The shell-shocked soldier portrayed by McCullin in 1968 becomes a last marker for sensationalism; its hollow grotesque gaze previewing a 21st century mediatic state. As Dean Acheson quipped ‘A memorandum is not written to inform the reader but to protect the writer’. Here one holds a canny description of the media. Journalists amble castled in hotels tourists to be baited by the press conference augmented and sallied by military and government. Print and visual information purport to share a common dedicated register. Media info an extraordinary medium in itself even more so as it stages like photography, documents like photography. It can compare with the visual arts. It also explains and in so doing explains its own escapism. Media infos pertaining to events in the world are grown plantation like, a type of artificial coral reef. Why? For it must clear its name from all fugitive charges. Or as Le Maitre Chat, Le Chat Botte, Puss in Boots use trickery and deceit to gain power, wealth and the hand of a princess in marriage for his penniless and lowborn master. Who might that be? The consumer of information not unlike the Negro slave has been given that which is necessary to perform the task in the field or house but at no point must he be taught to read or understand. Consequently without flight of passion one does not suppose to have a point of view for it has to be formed and made available as an antecedent. Consumer info is somehow overwhelmingly reasonable proposing the re-enactment of the same point in time as the dominant view over time’s agnation. And the biological life span of the consumer works conveniently to mask what professionals call in the film industry continuity. And so come forth the specialists who have been trained to expedite a specific vision of knowledge to answer any criteria or sub criteria safeguarding the paradigm. The specialists are educated to legitimate the dissemination of this line of thought with graphics and repeats until it loops as rhetoric. The specialists are trained to expedite a specific vision of the knowledge of the world.
Life Day (fortunes of war) mimics and exploits the mediatic practice summation of itself as a region of passage excluded of signs of transitory grinding halts. Life Day is a declaration aside from recriminatory design, more concerned by the affluence of the effluence arising from visual and written information describing the geo-political event within socio-political and cultural forms. The consumer Practice Von Stroheim has summoned a ‘Robert Frankian’ eidolon that enunciates the truth utilizing the lies of photographic ideology, with a view to prospect the mediatic rib and the emanations of the encryption of the truth. Practice Von Stroheim pursues the fragmentation of events and beyond this acute distance he welcomes the news media as a group of characters traveling, from an area A to an area B, to incept from this their future path of less resistance. The same group of characters also seduce him and their elopement from the pit dug by themselves and focus, instead of on the escape, in the how enemies end up as friends. And finally here Practice Von Stroheim is interested in the notion of the media/hero, when thrown in a situation of ambiguity and moral conflict of interest, doing the noble thing. Practice Von Stroheim has learnt by autodidact to foretell of an envelope of erudite illuminations that is addressed to the dead but read by the living. Napoleon said history is always written by the winner meaning you are naked, cold, at the feet and mercy of your conqueror and in this condition it is rather impossible to write your story. Outlines of the new battlefields in the 21st century present a new kind of field and a pen clutched, a voice that is given expression by those who do not make the 3.3%. Practice Von Stroheim is no longer an artist but a Mediatrician. MEDIATRIC A branch of knowledge that deals with the collection, classification, analysis and interpretation of facts or data, the Mediatric is a form of heterotopia that media expresses. Heterotopia is more commonly found in textbook zoology wherein the formation of tissue is observed where its presence is abnormal and where by use of transfers legs, for example, are inducted in the place of antennae in the turret of the head of the fruit fly. The drosophila’s leg has simply replaced the antenna. For the mediatrician a leg stays a leg even if its function is other. Media environmental appendage imposes order through an artificial selection which aggregates for the Mediatrician disparate elements misplaced and displaced; effluences or protuberances which ramifies Political cultural material, Applied Art materials and materials from science as an intrinsic visual linguistic system.
MEDIATRICIAN a) being a person who operates or repairs media wiring or media devices b) being a person engaged in general media practice as distinguished from one specializing in media surgery c) being a person who is adept in projecting media antics and tactics For the first time at the end of the 20th century in a undertaking actualized afore the internet’s standardness a consumer\disciple’s interest in a geopolitical spectrum adds through a photographic compositional tab the emanation of a synchronic state to express the fireworks from the island of the 'media library' as a system pertaining to a visual\word syntax. This flying pendulum was put to beat in the enlightment of the 18c so as to amplify and assert projections including the deposit of etymologies epithetical to the ‘Hellenistic’ theatre where drama in itself is addressed and disseminated as an experience localized, reduced and affixed for self economic and cultural aggrandisement. ‘Yes I have the eyes closed with your light. I am an animal, a negro. But I can be saved. You are false negros, you maniacs, wild, miserly. Merchant you are negro; magistrate you are negro; general you are negro; emperor, old itching, you are negro; you drank of a not taxed liquor, factory of Satan. These people are inspired by the fever and cancer. Disabled person and old men are so sizeable that they ask to be boiled. The most intelligent is to leave this continent, where the madness grinds to provide hostages these poor wretches. I enter to the true kingdom of the children of Cham.’ Arthur Rambaud, Une Saison En Enfer. Info consumer as false negro, mediatrician as beast. Practice Von Stroheim 11.1.13
Awarded UN Nikon Photography Grand Prix 1997
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